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French Cabaret Music: Songs of Aristide Bruant, Erik Satie, and Marguerite Monnot (1881-1958) Sara Chiesa

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French Cabaret Music: Songs of Aristide Bruant, Erik Satie, and Marguerite Monnot (1881-1958) Sara Chiesa Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 French Cabaret Music: Songs of Aristide Bruant, Erik Satie, and Marguerite Monnot (1881-1958) Sara Chiesa Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FRENCH CABARET MUSIC: SONGS OF ARISTIDE BRUANT, ERIK SATIE, AND MARGUERITE MONNOT (1881 – 1958) By SARA CHIESA A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2013 Sara Chiesa defended this treatise on October 4, 2013. The members of the supervisory committee were: Timothy Hoekman Professor Directing Treatise Matthew Shaftel University Representative David Okerlund Committee Member Valerie Trujillo Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS Thank you to my supervisory committee for their guidance during this degree. Thank you to Matthew Shaftel for his humor, encouragement, and unyielding dedication to his students. He gives so generously of his time, and his thoughtful edits enriched this document tremendously. Thank you to David Okerlund for his directness and vision throughout this process. Thank you to Valerie Trujillo for helping me to become more resilient and a more in-depth scholar. And finally, thank you to Timothy Hoekman for his time, talent, and knowledge. His edits of this document were all astute and thorough. In the three years I have spent in his studio, I have grown immensely as a pianist, coach, scholar, and overall musician. My completion of this document was only made possible through the encouragement, love, and support from friends and family. It is fitting that I mention Kayleigh Butcher first and foremost. This document only became a final product because of her tireless effort and assistance with the formatting and editing. For a linguist and vocal coach, it is ironic that I have no words to describe accurately the depth of her contributions both to this paper and to my life. In addition, I never would have finished this document without the unconditional love and support from Brian Meldrum. I am grateful that he invited me to sit by him almost 20 years ago and that he has remained by my side since then. An especially heartfelt thank you to Liz Karuich. Even while overseas, she is still the most devoted, generous, and hilarious best friend. To Mary Siciliano, thank you for being one of the first to believe in me and to see my potential when it was so well hidden. You have instilled in me the essential confidence and perseverance required to make it through all three college degree programs. Thank you for your constant encouragement, guidance, and advice. It is important to mention my Tallahassee family. Thank you to Nickolas Sanches for his time spent on the translations. Also, thank you to my dear friend, Adeline Heck, for her expertise in translating song texts from obscure French into iii understandable English. A big thank you to Mary Hangley for her assistance on the PowerPoint presentation at the cabaret lecture recital. Also, I owe immense gratitude to Raphaella Medina for her willingness and enthusiasm to collaborate with me at the recital—her unmatched dedication to her craft is inspiring to all. Thank you to David Graham for his tremendous friendship, scholarly advice, and unmatched sense of humor and fun. Without the help, support, and 50 emails exchanged with Melissa Loehnig, I never would have gotten through this doctoral degree or this paper—thank you! And to Kathleen Shelton, thank you for not only contributing monumental laughter during my time spent in Tallahassee, but also for your extraordinary love and support. A very heartfelt thank you to my family is in order. Thank you to my Aunt Karen Young who tenaciously and generously supports my musical and scholarly endeavors. Thank you to my sister, Stephanie Young, for reminding me when to take a break and making me laugh. And thank you to my parents, Mike and Bobbi Young. Their love, generosity, and support have helped make me who I am today. Thank you for loving and encouraging me down this sometimes seemingly impossible journey that is graduate school. iv TABLE OF CONTENTS List of Figures ........................................................................................................................................................... vi List of Tables ........................................................................................................................................................... vii Abstract .................................................................................................................................................................... viii 1. INTRODUCTION .......................................................................................................................................... 1 1.1 Significance of the Project ...................................................................................................................... 2 2. BACKGROUND OF CABARET ................................................................................................................. 3 2.1 Rudolphe Salis (1851-1897) ................................................................................................................... 6 2.2 Club des Hydropathes ............................................................................................................................... 7 2.3 Le Chat Noir as a Venue .......................................................................................................................... 9 2.4 Le Chat Noir as a Journal ...................................................................................................................... 11 3. ARISTIDE BRUANT (1851-1925) .............................................................................................................. 15 3.1 Biography and Background ................................................................................................................ 15 3.2 Compositions ........................................................................................................................................ 17 3.2.1 “Rôdeuse de berges” .......................................................................................................... 19 3.2.2 “Les canuts” ........................................................................................................................ 24 4. ERIK SATIE (1866-1925) ........................................................................................................................... 29 4.1 Biography and Background ................................................................................................................ 29 4.2 Compositions ........................................................................................................................................ 31 4.2.1 “Je te veux” .......................................................................................................................... 32 4.2.2 “La diva de l’Empire” ........................................................................................................ 38 5. MARGUERITE MONNOT (1903-1961) ................................................................................................. 43 5.1 Biography and Background ................................................................................................................ 43 5.2 Compositions ........................................................................................................................................ 43 5.2.1 “Mon légionnaire” .............................................................................................................. 46 5.2.2 “Comme moi” ...................................................................................................................... 51 6. CONCLUSION ............................................................................................................................................ 56 Bibliography ............................................................................................................................................................. 58 Biographical Sketch ................................................................................................................................................ 60 v LIST OF FIGURES 3.1 Aristide Bruant dans son Cabaret. Henri de Toulouse-Lautrec, 1893 ............................................ 15 3.2 Plagal cadence. “Rôdeuse de berges,” introduction mm. 1-4 ...................................................... 21 3.3 Specific harmony in m. 17. “Rôdeuse de berges,” mm. 15-19 ..................................................... 22 3.4 One measure of 4/4 time and the movement of the D♭. “Rôdeuse de berges,” mm. 20-40 ............................................................................................. 23 3.5 Fermata in m. 24 and the refrain. “Les canuts,” mm. 22-28 ........................................................ 26 3.6 Rolled chords that evoke a harpsichord. “Les canuts,” mm. 5-12 ............................................. 27 4.1 Hemiolas found in “Je te veux” ......................................................................................................
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